Legendary ballerina Margot Fonteyn was a member of The Royal Ballet and danced professionally for an exceptionally long time. She has danced with partners such as Rudolf Nureyev. Fonteyn will host a series on public television "The Magic of Dance." Fonteyn joins the show to discuss her life, career, and contemporary ballet.
Dance writer Deborah Jowitt. In her new book, Time and the Dancing Image, Jowitt approaches dance as an anthropologist, trying to reconnect dance to history by placing dance's major developments in the context of the culture that spawned it. Jowitt, a former dancer and choreographer, is the principal dance critic of The Village Voice.
Dancer and choreographer Jacques d'Amboise (dahm-bwasz). d'Amboise has done more than anyone alive to bring the joy of dance to the public. For over 30 years, he was principal dancer with the New York City Ballet, and a protege of choreographer George Balanchine. While still with NYCB, d'Ambrose founded the National Dance Institute (NDI) as a vehicle to teach dance and other arts to children. d'Amboise has more recently extended his classes to children with physical and emotional disabilities.
Classical music critic Lloyd Schwartz says a new recording of the ballet, performed by the Boston Symphony Orchestra and conducted by Bernard Haitink, lacks sexiness and uniqueness -- but the orchestra's precision allows the musicians to shine.
The Sony Classical label has begun issuing 50 CDs of the works of composer and conductor Pierre Boulez. Classical music critic Lloyd Schwartz reviews three offerings, with Boulez conducting works by Varese, Ravel, and Schonberg.
Farrell had a deep, complicated relationship with her choreographer, George Balanchine. She spent over twenty years with the New York City Ballet. Farrell's new memoir about her career is called is "Holding on to the Air"
Dancer and choreographer Edward Villella. Villella's new autobiography, "Prodigal Son," chronicles his rise as one of the best known male dancers and choreographers in the history of American ballet. It also looks at his often stormy working relationship with choreographer George Balanchine. (It's published by Simon and Schuster). (Interview by Marty Moss-Coane)
Classical Music critic Lloyd Schwartz reviews a new recording of a major Stravinsky score, "Les Noces and Village Wedding Songs" performed by the Pokrovsky Ensemble on the Elektra label. This recording presents the pieces in the style of folk singing, rather than the usual concert style.
Classical music critic Lloyd Schwartz reviews "Elusive Muse," the Academy Award-nominated documentary on ballet dancer Suzanne Farrell, who married choreographer George Balanchine. The documentary will be shown in an edited-for-TV version as a part of the PBS series "Dance in America" on June 25.
Artistic director for the Houston Ballet, Ben Stevenson. He’s been with the ballet for over 25 years, turning it into a premiere dance company. The New York Times’ dance critic said of Stevenson, (he) “is one of the most original figures in the development of regional ballet in America.” Stevenson’s own choreography for the Houston ballet include the full length works: “Swan Lake,” “Cinderella,” “Peer Gynt,” “Dracula,” and “Cleopatra.” Stevenson is a native of Britain.
Principal dancer for the Houston Ballet, and the first African-American to be a principal dancer, Lauren Anderson. She began studying at the ballet’s academy at the age of 7, and working with Stevenson at the age of 11 when he was hired by the ballet. Stevenson choreographed “Cleopatra,” for her.